[ARENA] Fw: University of Antwerp: Call for Papers - Public Private Partnership in Contemporary Art
Quinta-Feira, 17 de Dezembro de 2009 - 16:33:26 WET
Public Private Partnership in Contemporary Art
University of Antwerp
B 2000 Antwerp
Phone: + 32 3 265 54 87
Contact: Frederik Swennen
31st December 2009
This call for papers aims at academics or academic organisations with
a view of participating as a EU or Switzerland country reporter to an
expert seminar on Public Private Partnership in Contemporary Art in
Antwerp, Belgium on Sat. 24th April 2010. The organiser will cover
travel and accommodation costs.
The contemporary art fair artbrussels 28 takes place in Brussels from
22nd to 26th April 2010.
On the occasion of the art fair, an international 2-day legal seminar
on Public Private Partnership in Contemporary Art is open for
participation. On day 1, a public debate will take place on
artbrussels. On day 2, an expert seminar will be held in Antwerp
(Appendix 1. Programme - Appendix 2. Background).
Intention to participate should be submitted by 31st December 2009 to
frederik.swennen ua.ac.be. Proposals should contain a short cv and an
outline (5 lines) of the proposed text.
A rough questionnaire will be provided by the beginning of January 2010.
A text of max 20 p. with the country report is expected by 1st April
2010. No fee is provided for this text.
The expert seminar takes place on 24th April 2010, where a
comparative report will be presented and a discussion will be held.
The country reporters will then have until 24th May to submit their
The proceedings will be published by Intersentia publishers by
Appendix 1. Programme
Day 1. Public Debate – 23rd April 2010 – artbrussels (Brussels Expo)
The private-public art depot: win-win?
To approach private art collections with a professional collection
policy concerning collection management (acquisition / care / use),
research and preservation, could benefit both the collector and the
public authorities responsible for the cultural heritage.
How does Public Private Partnership fit into this area?
Prof. Frederik Swennen (University of Antwerp)
Invited international case-studies
- Momart (London, UK): private art depot
- La Maison Rouge (Paris, France): art exhibitions or Langen
Foundation (Neuss, Germany)
- Schaulager (Basel, Switzerland): conservation, research and
dissemination of art
- Museum Boijmans Van Beuningen (Rotterdam, The Netherlands): The
Day 2. Expert Seminar – 24th April 2010 – University of Antwerp
Public Private Partnership in Contemporary Art
o Country reports (reporters from EU countries)
o Comparative report
Appendix 2. Background
During the last decade, numerous (semi-)private initiatives – both
personal and corporate, both individual and collective – have been
developed in contemporary art. Private collectors play a prominent
role, not in the least because of the high density of private art
collections. Some private collections are considered of museological
Legal measures regarding private collections include supporting,
restraining and stimulating measures.
Private collectors often consider these measures as superfluous
restrictions to their activities rather than as incentives with a
view to facilitating their commitment to public collections.
On the one hand, existing crossovers between public and private
collections are mostly applied on an ad hoc-basis. A predictable
policy – thus: legal certainty – is lacking.
On the other hand, better crossovers are considered necessary, e.g.
an extension of the possibility to transfer art objects to other tax
regimes or a review of the deductibility of donations of works of art.
As a result, over the past years some initiatives have been
undertaken by which private art collectors – as (a group of) private
individuals or as (a group of) companies – have acted out as
protagonists in the contemporary art sector by creating their own
(legal and managerial) structures. Regarding its legal translation,
this outing is generally presented as an alternative to the public
art collections rather than a dialogue therewith, e.g. rather with a
private foundation than by loaning or donating a gift.
All parties concerned however consider the elaboration of better
crossovers between the public and the private necessary.
Firstly, there is an unbalance in available capital . On the one
hand, the standstill of public resources for art hampers the
creation, conservation and dissemination of public art collections,
especially in the light of the high market for contemporary art.
Public museums, however, are usually better equipped in terms of
staff, space and assets for the conservation of and care for works of
art. On the other hand, private collectors, with often multiple
budgets compared to public resources, have acquired a factual
primacy. This raises important questions over the role that public
authorities should take in the contemporary art sector, in light of
the low level of know-how amongst private collectors on conservation,
documentation and care of their collection.
There is thus a second, substantive, need. It seems that in
contemporary art in particular, public and private collections are
increasingly fulfilling interchangeable functions. On the one hand,
private collections tend to 'professionalize' or 'objectify'. In this
way, the horizontal and vertical boundaries of the structures
directed by private or corporate collectors and the publicly managed
museum become alike. Beside, there is public interest to ensure the
aforementioned functions regarding private collections in order to
prevent their loss, e.g. after transmission of a collection by
inheritance, or mergers and acquisitions of companies. On the other
hand, private collectors contribute to a new form of unlocking public
collections, e.g. by way of an ad hoc curatorship, from a subjective
point of view rather than with an objective, encyclopaedic purpose.
A third reason lies in the fact that private collections' chances of
survival in the long term are low in the absence of support – be it
financial or in terms of know-how – from the public domain.
Public authorities currently lack efficient tools so as to stimulate
private collectors to create crossovers. Research into private and
public tools regarding art collections will enable the creation of
As PPP in the broad sense is considered, every of the three following
means by which the public authorities responsible for cultural
heritage may reach out to private (personal or corporate) art
- supporting measures, such as public subventions to private entities
fulfilling functions of an art centre or cultural heritage organisation;
- restraining measures, such as property restrictions with a view of
protecting the cultural heritage, e.g. export restrictions for top
- stimulating measures, such as favourable tax regimes for private
foundations or inherited art collections that are open to the public;
payment of inheritance taxes with art objects, deductibility from
income taxes of (promised) gifts.
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